The psychological horror film Adalynn, directed by Jacob Byrd and written by Jerrod D. Brito, explores the fear, uncertainty, and trauma of postpartum depression through the eyes of the titular character. The film’s overall theme is fantastic and should be applauded for its originality.

The lead actor, Sydney Carvill, delivers a strong performance as Adalynn, showcasing her talent as an up-and-coming actress. However, at times her emotional range can be a little flat, leaving the audience wanting more. By having the character begin the film already stressed, it makes Carvill’s job much harder as she has only so many levels she can play with as her world unravels. Nonetheless, Carvill’s portrayal of Adalynn is convincing and captivating overall. The other actors in the film are equally capable, although they are not given very much characterization. Specific mention should be made for Wade Baker, as Adalynn’s husband Bill, who spends the film either being frustrated or supportive and sells both well.

The filmmakers were smart in how they built a script and story that narratively required only one location. This makes it easier to shoot an independent film, and they take full advantage of the limited setting to create a sense of claustrophobia and unease. The cinematographer, Rich Varville, expertly captures the mood and tone of the film, using a variety of camera angles and lighting techniques to create an eerie atmosphere. For instance, keeping the camera tight on Carvill serves to both minimize the required shots (always good for independent films) and to visually keep us caught in Adalynn’s mental framework.

Byrd shows a keen eye for detail and pacing, expertly building tension throughout the film. Byrd’s direction ensures that the audience remains engaged and invested in Adalynn’s journey, despite the limited setting and small cast. His vision is clear throughout and the final outcome is clearly the film he wished to make.

Brito’s script, however, is the weakest part of the film. It relies too heavily on confusing moments where the audience cannot tell what is and is not really happening. While this confusion is designed to be an intentional piece of the film’s feel, the shifts are so many it becomes legitimately hard to follow at times.

Moreover, the decision to have the film dominated by voice-over could have worked well if it had been specifically framed as being the words of her journal at the top of the film. Unfortunately, that suggestion comes nearly halfway through the movie, leading to what feels like an overabundant narration. Finally, the film to hide a plot point concerning Adalynn’s child Elizabeth as a mystery but undercuts itself with strange sound and shot choices.

Adalynn is a solid horror film with a unique premise and a talented cast and crew. Byrd, Brito, Varville and Carvill have crafted a film that deserves recognition and attention in the indie horror genre. It keeps your attention throughout and, by the end, proves to have been worth the journey. The weaknesses in the film can be attributed to the limitation of independent horror filmmaking and should not dissuade anyone from experiencing what is, ultimately, a fascinating look into how traumatic motherhood can be for many women.